The basic construction-parts of stringed musical-instruments, acoustic or electrical, are: (as illustrated in FIG. 1(a) for a violin and FIG. 1(b) for a guitar):                1) Strings (FIGS. 3 and 4)        2) Neck        3) Fingerboard        4) Pegs        5) Tailpiece        6) Tailgut        7) Peg, lower        8) Bridge        9) Body (FIGS. 3 and 4)        10) Saddle, upper        11) Block, upper and lower        12)        13) Saddle, lower        14) Corner block        15) Ribs        16) Sound post        17) Corner        18) Linings        19) Resonance-Table        20) Peg box        21) Peg holes        22) Scroll        23) Neck heel        24) Back of instrumentThe Strings 1        
The strings 1 are the elements that are generating the vibrations of a stringed musical instrument, plucked or bowed, acoustically or electrically amplified. They run parallel to the fingerboard 3 which is attached to the neck, or an integral part of it.
The strings were traditionally made out of animal intestines (gut) or wound metal on a gut core; today we call these strings gut strings. Modern strings have either gut, synthetic or metallic cores, wound with various metals, or alloys. These strings may be wound in several layers, and contain special softer material layers, in order to control the damping of vibrations.
The Neck 2
In order to support string-tension and to allow an efficient string-vibration when plucked or bowed, the stringed musical-instruments need a strong holding position for their strings. Much of this tension is supported by the neck 2. The neck comprises:
A Neck 2, a neck-heel 23, a peg-box 20, and a scroll 22 (scroll is only a part of the neck in the violin-family, viola- and da gamba-family)
All of the stringed musical instruments need a neck 2 being, as little as possible: prone to distortion through string-tension or other tensions created by playing the instrument. As the neck 2 transmits a part of the vibrations generated by the strings 1 to the resonance body of the instrument, flexibility to some degree is required. Therefore, the architecture of this neck 2, the materials used for its construction, and its assembly-quality to the resonance body, are essential for the instrument's global resonance efficiency.
The traditional neck 2 is made out of wood, usually hardwood, in order to resist string tension. Other materials which have been used in more recent times to increase the strength of the neck is glass-fiber, plied wood, reinforced plastic and carbon-fiber, mostly for the construction of instruments in the guitar-family. These materials may also be found in the construction of violin-family instrument necks 2, in case that the instrument is more or less entirely constructed by using these materials.
The peg box 21 at the opposite of the neck heel 23 is made out of the same wood as the neck 2. It provides essential room for the pegs 4. Some stringed instruments wear a decorative element at the end of the peg box 20. Examples of decoration are:                carved representations of animal or human heads        a spiral volute 22        
The necks of the plucked musical instruments are usually constructed in a different way than those of bowed musical instruments:
Plucked Instruments:
    neck 2 and neck-heel 23 are often made of two wooden parts glued together    the neck 2 is proportionally long compared to bowed instrument's necks    the neck 2 is also wide enough to allow space for at least 6 strings    because of its larger dimensions, plucked instrument's necks 2 are usually heavier than those of bowed instruments.Bowed Instruments:    neck 2 and neck-heel 23 are usually made out of one piece of wood    the neck 2 is proportionally short compared to plucked instrument's necks    the neck 2 of violin family instruments is comparatively narrow, it only needs to allow space for 4 strings (cello and double-bass in some cases 5 strings)Fingerboard 3
The wooden neck 2 alone is not strong enough to support the tension of the strings 1 without major distortion, because its dimensions are limited due to playing comfort. It is relying for increased strength on its lamination with the fingerboard 3; especially on bowed musical-instruments.
Ebony or other hardwoods are considered the preferred material for modern fingerboards 3 because of these wood's solidity, beauty, touch-qualities and superior resistance to wear. Most of the plucked string instruments are carrying a veneer (Veener in this context is solid wood of a thickness of about 1 to 10 mm), or solid piece of ebony or hardwood as a fingerboard 3; these fingerboards 3 usually have inserts of so called fret bands.
Pegs 4
At the neck end, the strings ride over the upper saddle 10 into the peg box 20, where they wound around the pegs 4 to provide tension. Today the strings 1 usually have a colored wrapping at both ends, for identification and to provide friction when inserted into the pegs 4. The peg shafts are shaved to a standard taper, their corresponding peg box holes 21 being reamed to the same taper, allowing the friction to be increased or decreased by the player applying appropriate pressure along the axis of the peg 4 while turning it. Pegs 4 are mostly made of wood or machine tuners in various metals will be found on double basses and the major part of plucked instruments.
Tailpiece 5
The opposite ends of the strings are fixed to the tailpiece 5 (bowed musical instruments), which itself is loosely attached to the body by the tail-gut 6 and lower peg 7′. On plucked instruments the tailpiece 5 is part of the bridge and glued on the instrument's resonance table 19.
The tailpiece 5 may be made of wood, metal, or plastic. It must be strong enough to support the tension of the strings 1.
Tail-Gut 6
The tail-gut 6 attaches the tailpiece 5 to the lower peg and transmits the vibrations of the strings via the tailpiece, the lower saddle and lower peg to the instrument's resonance body.
Lower Peg 7
The lower peg 7 is the only peg which is inserted directly into the body of the instrument (the lower peg is only a part of the violin-family). Its vibration/resonance-transmitting qualities are important. The lower peg is shaped to a conical or cylindrical tapper, and extends into the lower block.
Bridge 8
The bridge 8 forms the lower anchor point of the vibrating length of the strings, and transmits the vibrations of the strings directly to the resonance-table 19 of the instrument. This bridge's upper part holds the strings at a proper distance from the fingerboard 3. The distribution of string angle and flex of the bridge 8, acting as a mechanical acoustic filter, has a prominent effect on the sound of bowed instruments. These have their bridge 8 only held in place by string tension, whereas plucked instruments have their bridge 8 glued on the resonance-table 19 of the instrument, and the tailpiece 5 is in this case part of the bridge 8.
The Body 9
The three-dimensional instrument-body 9 consists of table 19, back 24 and rib-structure 15. Its architecture is elaborated to allow an efficient resonance capacity. In case of an electrical or semi-electrical instrument, the string-vibrations are entirely or partly enhanced by electromagnetic sensors or microphones. The body 9 can be made completely out of wood, metal, plastic, and carbon-fiber or by using a combination of these materials with in some cases the top made of hide or other membranes.
Inside the body, different supporting elements such as corner blocks 14, upper- and lower block 11, 11′ and linings 18 are inserted. These are traditionally made out of the same material as the main parts of the body, but beech, willow and poplar are also frequently used. Structural elements such as sound-bares (bass bares 25) or soundpegs (sound post 16) are fitted inside this body, in order to enhance resistance to string tension as well as resonance-abilities of the stringed instrument. These interior fittings are mostly made of spruce.
Upper Saddle 10, Lower Saddle 13
Traditionally settled as a separated piece at the peg box 20 end of the fingerboard 3, the upper saddle 10 comprises grooves to position the strings as they lead towards the bridge 8, and its upper part holds the strings 1 at a proper but low distance from the fingerboard 3. The upper saddle 10 has a direct contact to fingerboard 3 and neck 2 and its string-vibration transmitting ability is an important one. On bowed instruments the lower saddle 13 grooves to position the tailpiece-gut 6, and it is directly glued to the resonance-body of the instrument, and its vibration transmitting ability is also an important one. The commonly used materials for its construction are hardwoods such as ebony, or ivory.
Upper- and Lower Blocks, Corner Blocks 11, 11′, 14
The upper 11-lower 11′ and corner 14 blocks are traditionally made out of wood: spruce, willow and poplar are frequently used. Today the neck 2 is attached to the resonance body by inserting the neck-heel 23 into the upper block 11. The form, construction, dimensions, density and position of the upper block 11 is therefore essential for the stiffness/flexibility of the structure fingerboard 3/neck 2 and thus for the quality of the resonance generated by the stringed instrument, especially in the context of this invention. On bowed instruments, the lower block 11′ is supporting the string-tension on the opposite side of the instrument's resonance-body, and the corner blocks 14 are in charge to hold the rib-corners 17 together. The lower block 11′ also participates in the resonance transmitting of the lower peg 7.
The prior art also includes the following publications: FR 2 807 862, FR 2 762 706, U.S. Pat. No. 4,809,579, GB 397 760, TW 305411Y, JP 2005326703.